Jun 28, 2010
Standing Ovation is a brand-new movie set to hit theaters this summer (July 16). It’s all about five best friends who team up to make a video in the hopes of winning a million dollars. There’s tons of dancing, singing and acting as the ladies head to New York City, but they’ll face some tough competition from their rivals, The Wiggies. Throughout their adventures, the BFFs must remember to just “dance, sing, dream.”
Experience Ovation
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Standing Ovation is a comedy musical - so get set for tons of laughs and lotsa music! The movie stars Kayla Jackson, Pilar Martin, Alanna Palombo and others, and is scheduled for limited release on the July 16 2010.
With a national music video contest coming up, two teams determined to win the cash prize worth one million dollars prep themselves. One singing group is called The Five Ovations - five junior high school BFFs who have limited funds and resources but plan on using their talents, capabilities, passion, courage and proper mindset to the utmost to create a wonderful song and music number that could win them the competition.
On the other hand The Wiggies, arch rivals of The Five Ovations, is formed by five sisters with tons of money but not much talent. They too are working hard to win the competition, by hook or by crook with lots of support form their parents. Apart from winning the competition, they also have to focus on deeds to stop their rivals performing. The Wiggies and their parents would do anything - and we mean ANYTHING - to be the winners.
Check our the official Standing Ovation Website!
dropdeadollifer says: Mitchel Musso:D MMMMMM..YES!XD ahah
freak106 says: YOUR MUM SO FAT WEN SHE WENT ON THE BEACH THE BLUE WHALE POPED UP AND SANG WE ARE FAMILY
Halomastercheif says: vote for toy story 3 or twiight eclipse
Storm Thy Tears says: We like spying and running and camping
SaraXElmosXWorstXEnemy says: I don't know…..They go treasure hunting? xD
The full-length trailer suggests that the cinematic version of JK Rowling's seventh and final Harry Potter - which has been split into two films - will be darker than its predecessors.
It shows Harry confronting Lord Voldemort, the young wizard's arch-enemy, as the two prepare for their final battle.
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Voldemort, played by Ralph Fiennes, has grown in power and now controls the Ministry of Magic and Hogwarts.
There are also hints of a growing love interest between Ron Weasley (Rupert Grint) and Hermione Granger (Emma Watson), with a screen kiss between the pair.
But as the trio leave Hogwarts behind and attempt to confront the Dark Forces unleashed by Voldemort, unaided by Professor Dumbledore, they begin to argue.
Deathly Hallows - billed in the trailer as 'The Motion Picture Event of a Generation' - is being split into Part I and Part II. The first part will hit cinemas in the UK on November 19. Fans will then have to wait eight months for the Part II, set for release on July 15, 2011. The trailer includes scenes from both films.
From a film point of view the central trio were running out of time: Rupert Grint is already 21; Daniel Radcliffe will be that age in July; and Emma Watson is 20.
The cast also includes Helena Bonham Carter, Robbie Coltrane, Brendan Gleeson, Richard Griffiths Alan Rickman, Maggie Smith, Timothy Spall, Imelda Staunton and Julie Walters.
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Charlotte Gray (Cate Blanchett) is a Scottish woman living in London, though her studies have made her an expert in most things French. A chance encounter with Peter Gregory (Rupert Penry-Jones), an RAF fighter pilot, leads her to falling in love with the man, but things don't work out as well as both would like. Soon, Peter is shot down over France and not too long after that, Charlotte is recruited to take part in a mission on French soil. Of course, her desire to serve the side of good in the war drives her, as does her passion for France, but her personal wishes to find her former lover perhaps weigh the most on her decision. She is given an undercover name and former life to play off, as she gathers various information, observes her surroundings, and even takes part in some more important assignments. The leader of the resistance team is Julien (Billy Crudup), whose father is hosting Charlotte while she does her assigned tasks. Charlotte soon learns that Peter has been confirmed dead and this leaves her broken in more ways than one. Can she continue to fight back and try to preserve the country she loves so much, or will this emotional loss take too much from her and withdraw her from the assignment?
Although Charlotte Gray is not a great movie, it comes close and with a superb cast of players, it still more than warrants some attention. The storyline is rich and has a lot of potential, which director Gillian Armstrong is able to make good use of, at least for the first three quarters of the picture or so. After that, the movie tends to unravel and loses its steam quite a bit, though it still never becomes overly bad. I suppose that is kind of worse that an overall bad movie, since it makes it harder to accept when a film has such definite potential, but then fails to make good on all those opportunities. Even so, this one has plenty of good moments and with a number of excellent performances, it always remains watchable. Cate Blanchett gives an awesome effort, but supporting players like Billy Crudup, Michael Gambon, and Rupert Penry-Jones add depth and solid turns also, which flesh out the cast of characters. So while it does taper off toward the close, this is still a good movie and deserves a recommendation, especially since Warner has issued a decent enough disc, so check it out.
Even when this film drags or begins to become bland, it remains interesting thanks to the performances, especially the one given by Cate Blanchett. I've been a fan of hers for some time, as she seems to be able to get inside the heads of all of her characters, whether she has a small role or the leading one. In this case, she has the main character and she never misses a beat, bringing Charlotte to life with skill, emotion, and courage, which is impressive indeed, since the material often dips in terms of development. That is what top level actors do though, as she improves the material and makes most of her scenes work, though toward the film's close, even she is unable to overcome the flaws in the material. Other films with Blanchett include Bandits, Elizabeth, The Shipping News, The Gift, and Pushing Tin. The cast also includes Billy Crudup (Almost Famous, Waking the Dead), Michael Gambon (Gosford Park, Plunkett & Macleane), and Rupert Penry-Jones (Still Crazy, Virtual Sexuality).
Charlotte Gray is presented in a 1.85:1 anamorphic widescreen transfer. As usual on their new releases, Warner serves up a top drawer treatment that shows minimal defects, so fans should be nothing less than delighted here. The soft appearance is intentional, as the film has a more natural visual style, as opposed to razor sharp and crisp. I noticed this in the theaters and now on the DVD, so while it may seem like an error, rest easy, as this is how the filmmakers intended the visuals to come across. The colors are warm, the flesh tones look consistent, and black levels are well balanced, a terrific overall visual presentation.
As expected, the included Dolby Digital 5.1 is not too powerful, but the material sounds terrific and the track never slips in the least. I was pleased that the war scenes were so strong, as the surround and subwoofer come to life, with some nice power and depth. Of course, these scenes aren't too frequent, but even so, the experience is enhanced by the dynamic audio present when they're on screen. Most of the other scenes are more reserved, dialogue driven material, but they sound good also, a better overall mix than expected. This disc also includes subtitles in English, Spanish, and French.
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An audio commentary with director Gillian Armstrong is the main draw here, though it proves to be a middling session at best. Her comments remain brisk and never too revealing, though she does let out a lot of the production design details, which spiced up the track more than a little, of course. This disc also includes some talent files, two brief behind the scenes featurettes, and the film's theatrical trailer.
Famously, film and TV adaptations of Jane Austen’s novels used often to be guilty of staid, lazy, Sunday-afternoonish reverence. Recent efforts have waxed loud about making her ‘sexy’ or ‘modern’; this takes that screw to her best loved paperback, oblation both appropriately youthful stars and a purportedly ‘realist’ portrayal of Regency England as gritty and grungy choose than rosily scenic.It’s not an unintelligent take a crack at, with Wright (following TV acclaim with this feature debut) and writer Deborah Moggach alert to demands for naturalism: anciently scenes of the Bennets preparing for and attending a boisterous ball are so pacy, buzzy and giggly, you puzzle whether Austen’s meticulous narrative structure’s been jettisoned. It hasn’t. Sadly, however, her brilliant intuition of irony has; fictitious melodrama’s played up at the expense of her razor-crafty wit, so humour is largely confined to Brenda Blethyn (broad) and Donald Sutherland (muted) as the Bennet parents and Tom Hollander, in perhaps the only turn to bang into just the correctly note, as Mr Collins.Keira Knightley doesn’t Non-Standard real convey Lizzie’s strength, welcome just her complexity, while Darcy’s shift from surliness to love is too sudden towards Matthew MacFadyen to talk into. Family and friends are too sketchy (though Judi Dench leaves her mark as Lady de Bourg), by a hair’s breadth as England conveniently comprises famed statelies (Burghley, Chatsworth) and a cliff in the Peak District that gives Keira a ‘Titanic’ ball. Meanwhile, history and Austen’s rational concerns are pushed into the background by further rhetorical flourishes have a fondness Darcy’s misty-pasture land stride, with rising music, for a new-day forget about. A realist Austen? Not word for word.
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Hand down Kane (Tom Skeritt) strolls down the muddy streets of an lonely town without another soul in sight. The twelve o’clock noon train has arrived, and imminent death approaches on horseback in the arrangement of six vicious gunmen. Even without aid from his friends, the marshal faces the incoming deluge with a demanding resolve to do the right thing. Instead of fleeing and saving his life, Kane will stand up to the men who browbeat him and the township he swore to protect. But is he actually doing the lucid thing? This question dominates High Noon‹a telegraph television remake of the 1952 Gary Cooper classic that attempts to present the plot outline to a new audience unfamiliar with the original. The yarn of this version closely follows the original screenplay by Carl Boss and adds little innovation or new moments of portion. This spurs a pivotal question: Why remake High Noontime without vexing to unify some original ideas? Director Rod Hardy (Two for Texas, Buffalo Girls) believes that they have made the events “edgier” and delineated them a more contemporary be conscious of, but nothing feels extra or exciting in this film. At one abstract sexual moment occurs, and the irrefutable gunfight extends for a lengthier period, but that silence fails to assassinate the air of familiarity and dullness from this production. It¹s a by-the-numbers creation that takes few chances and becomes a probable mess of clichés and bland confrontations.
For readers unfamiliar with the thriller, it begins with lawman Liking Kane marrying Amy (Susanna Thompson of From time to time and Again) and preparing to move on to a relaxed family life. Unfortunately, done nemesis Uninhibited Miller (Michael Madsen) has been pardoned by the direction and seeks stinging vengeance against Kane. Miller¹s recruited a insufficient old comrades, and is arriving on the noon train to settle matters in an extremely fixed manner. This gives Kane only a little more than an hour to either escape the town or decide to confront Miller and his men. Alluring place in real time, the story follows Will¹s attempts to gather a posse from the town to dispute up to them. From one end to the other his efforts, Kane presents a true version of sand and honor in the face of dire odds.
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In 1981, Peter Hyams¹ Outland provided a fascinating turn on the Strident Twelve o’clock noon story by placing it into a bleak, futuristic system-fiction world. Although it miscellaneous considerably in terms of the particulars, this movie held onto the concept of the heroic figure static up to misfortune when no one else will. Sean Connery gave one of his most underrated performances in the lead duty and made his character three-dimensional and fascinating. Hyams used elements of the original plot and created his own intriguing in every way. Unfortunately, this new television style contains little of this form of innovation. Tom Skeritt has a nice screen presence, but his suitable is wooden and uninteresting. He appears to be standing up to Miller only because it¹s written into the continuity this way. Where is the conflict between them? The hysterical side of Kane is lacking, and I cared little about whether he survived the final battle. The reprehension falls slightly on Skeritt, but mostly lies with T.S. Cook, who couldn¹t create the compelling person necessary to carry the film.
While Skeritt falls short of depicting an intriguing character, he fares much better than most of the supporting cast. The two major culprits in this dead duck are Reed Diamond (Homicide: Elan vital on the Street) and Maria Conchita Alonso (Caught). Diamond performed impressively as troubled detective Mike Kellerman on Homicide, but he appears to be playing basically the after all is said role in this item as Kane’s agent, Harvey Pell. He spends the entire picture brooding, and this gives us trifling acumen into his motivations and thoughts. Alonso invokes limited excitement as the worldly Helen Ramirez, and her words be a question of off swamp and uninspired. Kane presumably loved this woman, but any chemistry is more nonexistent during their scenes together. Finally, Western old hand Dennis Weaver (Gunsmoke just registers a blip with an extremely underwritten performance. His role as Kane¹s mentor doesn¹t really come across, and this seriously undermines the movie’s star.
While High Noon falls distance off short of compelling theatrics, it avoids being a complete failure as a consequence several interesting moments and some awe-inspiring scenery. During the final gunfight, kingpin of photography Robert McLachlan used nice innovation of an altered shutter sprint to create a scathing, jittery feel. This effect was recently used in Gladiator’s rent battle scene, and it generates a tumultuous feel within the action. Another well-done disagreeable situation occurs in the town church as Kane asked for usurp from the local citizens. Although their verdict is the same, each character offers a divers viewpoint, and it reveals the expectation occult within this secular. Filmed in the Canadian countryside near Calgary, the set is surrounded by breathtaking mountains that add to the atmosphere of the story. When the camera pans back into a long markswoman of the town, the whack works effectively to contrast Kane¹s isolation with this picturesque world. Although these highlights save the film from utter disaster, it tranquillity struggles to engage excitement remaining more than a offhand period. The overall to all intents is sheer boredom, with only a few sterling elements included all through a brief running time.
“Nothing is what it seems.”
Ethical a year to come this covering opened, we inaugurate Al Pacino co-starring with Robin Williams in the well-disciplined mystery “Insomnia.” It was a good, complementary pairing of characters we enjoyed learning more about. In 2003’s “The Recruit” Pacino is paired with Colin Farrell, another comely actor, but the outcome is quite different. Neither of the characters they play involves us passably to care much fro them; consequently, we don’t care much about the pic, either.
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“The Recruit” relies right down to the ground on its convoluted plot to carry the day, and it’s not up to the task. Chairman Roger Donaldson did better when he had a write in the manner of “Thirteen Days” to deal with because the events in that film were real and made sense. The script as far as something “The Recruit” feels like a misstep through an joke-park fun legislature it’s so fanciful, and not even a proficient maestro can make sense of it.
Resembling Tony Scott’s “Spy Game,” the 2001 thriller about the older spy tutoring the younger single, “The Recruit” puts CIA spokesperson Pacino into the job of a father mould to young Farrell, whom he persuades to connect the systematizing. From there on, however, the coincidence ends, as the new overlay forges in front with a maze of elaborate contrivances that make “Spy Game” seem positively episode-of-in reality. Add, too, that the leads in “The Recruit” never develop any etched bond and their characters never grow as a come about of their circumstances, and you get a fairly unchanging, if sometimes surprising, motion essence.
Pacino maintains his usual on-screen stern-gazabo persona as Walter Burke, higher- ranking CIA coach extraordinaire, forever growling out bits of astuteness, barking orders, and looking assured and sated of himself. However, since Burke’s demeanor conditions changes through the white, it’s up to Farrell’s character, James Clayton, to transport the mist; but, unfortunately, although he’s in virtually every scene, Farrell is not given enough to do to carry anything. Burke is the newcomer, a dynamite computer programmer and part-time bartender, who seems equally as confident as Burke but is infinitely more sensitive. Why if he’s such a hotshot programmer he’s tending bar, I not in any way did trust in out. In any case, Burke wants Clayton to accompany the team and lures him into trying out with vague promises of revealing the circumstances of Burke’s father’s mysterious disappearance a dozen years before, by any means as a CIA operative.
The first half of the film recounts Clayton’s teaching at the CIA training system known as “the farm.” It is here that Burke tells him for the second time, “Nothing is what it seems.” By now it should be clear to the viewer that nothing in the film is to be captivated at countenance value, and we are subsequently exposed to a series of sneaky maneuvers that square our head suffer vertigo. Burke is there to teach the new recruits “to fool, lines play, psychologically assess, sell, exploit…and defeat.” The viewer should not at any time forget it.
The Pty gnome: “Our failures are known; our successes are not.” One of the recruits is to be chosen for the duration of the flaxen occasion of enhancing a NOC, a nonofficial extend over operative, a true tail, alone and unprotected, the trade they all aspire to, Avalon knows why. Everything the recruits do, they’re told, is a test, and ultimately, everything they do begins to test the patience of the movie audience. It’s also at the training facility that Burke falls repayment for a fellow recruit, the beauteous Layla Moore, played by the beauteous Bridget Moynahan. Purposefulness one of them attain the slippery ambition of becoming a NOC, and if so, how see fit it counterfeit their relationship?
After the training portion of the film is over, a spy-vs-spy operation consumes the second half. In both sections, tricks and gimmicks abound. Before covet, we don’t know what’s real and what isn’t, what’s a test and what’s not. Halfway through, no one knows what to believe or whom to sign. The only question is how sundry times will the viewer be captivated in.
MY FIRST MISTER
Leelee Sobieski faces a falsely insurmountable discover in Christine Lahti's My Pre-eminent Mister, and she comes outdoors of it rise in the world exceedning expectations. As sulking suburban teen Jennifer, she's got to go gothic in a Hollywood movie and get hot for Albert Brooks at the same time. What sounds preposterous on paper plays commission as a witty, witty, tenderly conceived tale beside people who come off as solidly genuine, even if they be enduring to contact prior a some Hollywood formula situations in the movie.
Sobieski flashes her very appealing and enigmatic dark side as a fanatically punk teen rebel. When not hissing at her apple pie bimbo mom (Carol Kane), Jennifer is snarling in solitude at the local mall, and bitching yon the downer of existence on the planet in general.
On solitary painstaking slacker afternoon during a spree of terminal boredom, Jennifer fixates on paunchy, middle aged tightass Randall (Albert Brooks), who presides over a yuppie men's clothing store. Alernately repelled and fascinated by what they perceive as outright losers in one another, the two are soon ambivalently bonding around feelings of interactive alienation, while hawking the upscale suits together.
As a series of episodic interludes between mismatched eccentrics, My First Mister is a marvel of an indie flavored movie dressed up in Hollywood garb. Lahti keeps the dialogue and highly-strung flow intimate and lyrical, so that most of the become successful fetched situations ring true. The spell is broken on occasion when narrative threads meander misguided into conventional and sentimental territory. But Sobieski and Brooks make oneself scarce the coming of age tale to redesigned and magical places it has never quite been before, closing the large divide of the notorious generation gap with valorous poignancy and edgy grace.
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It is exactly what the title implies: mindless.
And, believe me, the one joke ain’t much to begin with. Two duffel bags, one with clothes for a Mexican vacation and the other with eight freshly sawed-off heads, are accidentally exchanged at baggage claim. It’s so stupid you could go out of your mind waiting for something else to happen.
So here’s Charlie, a student who picked up the wrong duffel bag, negotiating on the phone with a hit man who wants his heads back — proof the hits were made.
Charlie is anxious to unload them. Who needs a bunch of severed heads around on a vacation?
Unfortunately, as he is trying to explain to the hit man (Joe Pesci), one of the heads is missing. Charlie (Andy Comeau) hangs up, and his girlfriend, Laurie (Kristy Swanson), who has been listening with concern — after all, her stuffy parents are in the next room and she wouldn’t want them to get the wrong impression — demands to know: “What’s happening?”
This question may already have oc curred to audiences. The publicity describes “8 Heads in a Duffel Bag” as “a new dimension in comedy.” and for once a movie lives up to its billing. “Heads” is so far out there it’s incomprehensible.
Not a single scene makes sense. For starters, wouldn’t Charlie have noticed he had picked up the wrong bag? Whatever he packed couldn’t possibly weigh as much as eight heads. And the blind maid who threw the missing head in with the laundry? Surely she would have felt something funny even if she couldn’t see it.
These discrepancies might not be as blatant if “Heads” had been directed with a lighter hand, so that it was obvious the film was meant to be a farce. But directing his first feature, Tom Schulman, the screenwriter (“Dead Poet’s Society,” “What About Bob?”), seems incapable of the right touch.
He’s continually coming up with overwrought scenes like the one where Dyan Cannon, as Laurie’s alcoholic mother, goes into operatic hysterics after discovering the heads.
The effect of all this noise is to drown out Schulman’s halfway funny lines.
Pesci, who has shown a certain panache playing other hoods, appears to be at a loss to know what to do with this one. He snarls at a lot of people, but never seems particularly scary.
Comeau is unable to make Charlie’s transition from wimp to tough guy convincing. This is Comeau’s first movie and he can take some consolation knowing the next one is bound to be better.
Cannon and George Hamilton, who plays her husband, come across the worst. It’s always a shock to see actors who haven’t been in a film for a long time.
But these two have been badly served not just by the script, but also by the camera angles, which make them look like caricatures of themselves.
Baja, where the family allegedly is vacationing, doesn’t look much like itself, either. To save money, “Heads” was actually shot just outside of Los Angeles.
It appears as if the scenery — a canvas of a quaint Mexican town — has been rolled down.
Captain Mal Reynolds (Nathan Fillion) and the team of the shipping ship Serenity are galactic outlaws. There’s Mal’s feisty approve of in charge Zoe (Gina Torres), married to pilot Wash (Alan Tudyk); Kaylee (Jewel Staite), the ship’s mechanic and Jayne (Adam Baldwin), the turncoat mercenary. Mal agrees to transport River (Summer Glau) and her medico confrere Simon (Sean Maher), two fugitives of The Alliance, the coalition that dominates the galaxy, but force more than they bargained for. River has a arcane and The Association sends The Operative (Chiwetel Ejiofor) to capture her. They take refuge with old friends Shepherd Log (Ron Glass) and the appealing Inara (Morena Baccarin), but find they are bombarded by troubles from all directions.
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Mary Harron (AMERICAN PSYCHO) transports New York to a pre-feminist, late 1960s, Andy Warhol art scene in this stylistically inflammatory flick that harkens back to such films as BORN IN FLAMES. Lili Taylor plays the angry Valerie Solanas with a vehemently that just won’t quit. Solanas is mad. She’s a manic spitfire, has hell to graze collect, and is armed with the SCUM MANIFESTO. Encouraged by Warhol’s queerly noncommittal position, Solanas is convinced he when one pleases cause her play UP YOUR ASS. Between writing and turning tricks at the Chelsea Hotel, she meets Maurice Girodias, famed publisher of writers like William S. Burroughs, Jean Genet and Pauline Reage. Intrigued by her subversive quality, he signs a constrict with her for the fulfilment of two novels. When Solanas realizes she’s signed the rights over to Girodias, she begins to unravel and sets out on a paranoid purpose to stop him and Warhol from controlling her life.
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Harron’s film is a manifesto. Stylistically adventurous, this indie romp is a smart and sassy feminist critique of Andy Warhol’s Factory scene. Unlike other films that glamorize it (THE DOORS, BASQUIAT), I SHOT ANDY WARHOL exposes the subtle misogyny that is just not quite hidden directed all the glamor.
